Love Off the Cuff’s little parts add up to a much greater whole.

The performances in the 1997 scenes are relatively low-key, relying more on the dramatic development of personal relationships than the shock value of unexpected events. The contemporary storyline offers little of particular interest, however, serving more to contextualize earlier developments.

Steven Alexander's A Night Without Armor is a two-hander whose attempts to transcend staginess generally fall flat.

Schrader’s film gets into the nitty-gritty without losing sight of the alchemy.

Buoyed by Andre Horta’s often documentary-style camerawork, the script is respectful of the truth, refusing to exaggerate for the sake of the drama even when there are multiple opportunities to do so.

Bezmozgis, whose previous feature was 2009's Victoria Day, is more assured as a writer than filmmaker, with Natasha featuring a bland visual and editing style. But he's elicited fine performances from the ensemble.

It's a marvelously quirky film, with not quite something for everybody.

Swicord took on a daunting challenge in adapting this piece, and she’s met it more intelligently than convincingly. It would have been asking a lot from any actor to carry this film, and Cranston has done the heavy lifting and more.

It has its harrowing moments, but the psychological thriller Jasmine is an impenetrable mystery for most of its running time, and deliberately so.

Guardians of the Galaxy Vol. 2 plays like a second ride on a roller-coaster that was a real kick the first time around but feels very been-there/done-that now.

There's never a false note in the performances of Callum Turner and Grace Van Patten, who make ideal accomplices for the talented writer-director.

This playfully made exposé should be required viewing for anyone wondering what they could do to pitch in and save the planet.

Despite its missteps and occasional pretensions, Jeremiah Tower: The Last Magnificent provides a compelling portrait of the chef as tortured artist.

This affectionate portrait includes extensive interviews with Wertmuller, who remains vital in her late 80s, as well as performance footage of her singing her original compositions.

The incisive beauty of the documentary, and its power, is that it's not a thesis or an argument but a full-blooded, multifaceted real-life drama.

At the helm for the first-time, and working from screenwriter Christina Hodson’s slick balancing act of aspirational romance and dark psychology, longtime producer Di Novi enlivens the generic mix with a tinge of camp and a sure grasp of mean-girl dynamics.

Director Alex Merkin does reasonably well with an obviously low budget, and the screenplay by Jesse Mittelstadt thankfully doesn't take itself too seriously. That's not to say it's good, mind you, with the film's last line, delivered by Richards, definitely not destined to go down in screen history.

Seeing these likable oldsters talk at length is just about the entire point of this picture, which isn't nearly as good at guiding us through history or explaining technical minutiae as it is at relating to their well-earned sense of pride.

Sandler's drool-accompanied ogling of the female form is now near Woody Allen levels of ick.

Expanding her premise into a reflection on an artist's challenge in portraying reality, the director's By the Time It Gets Dark is a magical, melancholic ode to the intellectual's struggle against the forces of history.

Suffern puts this tragic story to purposeful and, in some respects, inspiring use: The power of forgiveness can be remarkable, and some countries in the world have actually improved over the past 25 years.

Smartly shaped and vigorously told by prolific documentarian John Scheinfeld (Who Is Harry Nilsson, The U.S. vs. John Lennon), the film bulges with insights offered by everyone from family members and close collaborators to the likes of Cornel West and Bill Clinton.

This religious-themed drama earns points for proselytizing in more narratively compelling form than usual. But while the film is watchable and features some effective performances, suffice it to say that it isn’t exactly All the President’s Men.

The result should find admirers among the fanboy crowd, raising the stakes for the team's next feature, even if it has little crossover potential.

Engaging and lively.

Directed with wit and structural precision — there is not a single moment in the film that feels wasted or doesn’t pay off later on — Glory uses two vastly opposing characters (a communications specialist vs. someone who can barely communicate at all) to depict a society riddled with fraud and cruelty.

If all of the overemoting can be ignored, Born in China delivers gorgeous visuals in its close-up perspective on some of the world’s rarest wildlife species, as well as the imposing habitats they call home.

A scrappy but at times uproarious Romanian comedy.